To get the vocals I really wanted for this track, I worked with the wonderful Florida based singer Athena Dawn, who had her studio up and running again just in time after the damage done by hurricane Irma last month. I’m really excited about the result, and I hope you’re too!

I don’t know if I succeeded in making a quality album which is a good listen for all 9 tracks, but if you’re a fan of Undertale then you’ll probably find something worth listening to. At least I hope so! I’m always happy to hear what you think!

Just a quick shout out to let you know that my Pokemon Sun & Moon music album (12 tracks) is out now! 8 different battle themes: Skull Leader Guzma Battle theme, Solgaleo & Lunala, Totem Pokemon Battle & more. And also new versions of Gladion’s theme, the spheric Po Town theme, The Jazzy Hau’oli Night theme and the Suspense-ive (…) Showdown of Lusamine. Please enjoy and let me know what you think!

I hope to still be seeing you in 2017. I’m working on some nice new musical projects, varying from energetic EDM oriented remixes to relaxing Sunday morning lounge style albums. And a special album to honor a couple of your inspiring requests.

I worked on a 7-track album with new versions of the Phoenix Wright Ace Attorney soundtrack. The opening track “Pursuit / Cornered” has a restless chiptune rocking vibe, while the second one “Objection!” is a more laid back relaxing piece of music. The Steel Samurai (Warrior of Neo Olde Tokio) has gotten quite a full arrangement with heavy drums, brass sections, distorted guitar riffs and an 8-bit synth too. And there’s 4 more tracks to check out: Cross Examination, Dick Gumshoe, Confess the Truth and the last one: Logic and Tricks. I tried to give that one a 90’s alternative dance style vibe, inspired by Leftfield and Orbital.

When working on my Undertale tribute album I was happy to be making new versions of Spider Dance, Bonetrousle, MEGALOVANIA and 8 other wonderful compositions by Toby Fox. Somehow I didn’t get to include the Song That Might Play When You Fight Sans.

Since I think it’s a wonderful “rocker” I made a new version of it, trying to combine some smooth chiptune synths with raging heavy metal guitar solo parts. Containing the roughest guitar parts compared to all the 500 tracks I made so far… 🙂 I hope you like it!

a full album of Pokemon X & Y tracks. I tried to get the energy levels way op on 6 different Battle themes – including Xerneas & Yveltal Battle and the Elite 4 Battle theme. And a few more relaxing other themes like Anistar City in between.

Before there were magical nanomachines and photosynthetic plant men, there were deadly poisonous Zanzibar hamsters. “Metal Gear Solid” may have popularized Hideo Kojima’s off-the-wall stealth series, but it all began in 1987 with the original “Metal Gear” on the MSX2, later tweaked and ported to the Nintendo Entertainment System in the following year. Both games had their own unique soundtracks, and while the music of the MSX2 version was popular enough to make appearances in later entries in the franchise, the music of the NES version has largely been forgotten. This is most unfortunate, as its soundtrack is one of its few consistent strengths.

While “Metal Gear’s” soundtrack is dramatically shorter than that of its contemporaries, it starts off strong with “Aerial Insertion” — perfect music to parachute to! “Jungle Infiltration” immediately follows, its echoing percussion and minor key melody calling to mind a stealthy shuffle through enemy-laden flora.

“Base Infiltration” is a more energetic and mysterious take on its predecessor, and no player has ever gone without hearing the largely similar “Intruder Detected” themes. They don’t quite have the same panic-stricken energy of later games’ “Encounter,” but the frantic beat and 8-bit alarms certainly heighten the tension.

More than a decade after its last numbered predecessor, “Mega Man 9” was ushered into the gaming world on a sea of applause and fanboyish glee — and maybe more than a little fanboyish drool. Released for multiple platforms in 2008, MM9 was a loving callback to the 8-bit platformers adored by many a nerd back in the far-off time of the 1980s. The same could certainly be said for its soundtrack, which manages to create an unusual, but no less unique blend of bleeps and bloops old and new that were tailor-made for nostalgia.

The game opens, appropriately enough, with the track “Opening 1,” a soft, almost sweet melody that serves as a peaceful callback to the Mega Man of yesteryear. This immediately (and seamlessly) moves into “Opening 2,” an oddly reflective piece with a funky beat.

Of course, it’s not Mega Man without some memorable robot master themes. Of particular note is “Splash Blue,” a hypnotic accompaniment to the equally hypnotic Splash Woman. The heavy reverb, reminiscent of a surging tide, immediately calls to mind the beauty of the ocean blue. Galaxy Man’s theme, “Galaxy Fantasy,” is among the fastest-paced tracks in the game and always a blast to listen to.

But if I had to pick a favorite, it would be “We are the Robots”, which is the title for the Dr. Wily Stage 2 theme in this game. It has the absolute feeling of a doomy heavy metal track, performed with 8-bit machines. I tried to capture it’s vibe and make the most out of this beautiful composition over here.

“Mega Man 9’s” soundtrack manages to package the nostalgic charm of the NES classics with the hyper-polished presentation of modern triple-A platformers, maintaining its own identity even with sounds lovingly appropriated from another time in gaming history.

“Castlevania” quickly made a name for itself after its 1986 release for the Nintendo Entertainment System, spawning a decades-running series of action-platformers that helped perfect and popularize a hereto unheard of genre. Vampire hunting was certainly nothing new at the time, but “Castlevania” made it original again with the whip-wielding Simon Belmont as he braved Dracula’s castle to put an end to the infernal count’s life.

The music of “Castlevania” was composed by both Kinuyo Yamashita and Satoe Terashima, two veteran musicians who made a name for female video game composers in a time and place when such were rare, though the two worked independently of each other and never fully collaborated on their tracks.

Overall, Castlevania’s soundtrack is surprisingly funky and upbeat for an action game that pits you against the horrors of the undead. From beginning to end, the melodies and percussion will leave you humming even as the unforgiving onslaught of unholy aberrations will make you want to throw your controller in frustration.

Vampire Killer — the theme of the first stage — beautifully illustrates the excitement of the treacherous journey ahead. Another noteworthy track — stage sixteen’s “Out of Time” — managed to cram a lifetime’s worth of thrills into a thirty-second loop. And “Wicked Child” came to be one of the series all-time greatest hits. I hope I’ve honored the Konami Classics on this album. Please listen for yourself and I’d be happy to hear what you think!